CD Reviews

Sick City Nightlife Smallman Records/ 2007 ♥♥♥♥♥	After making itself a household name locally, Sick City has spent the past six months writing and ultimately recording in Atlanta, Ga. with Kenneth Mount and Zach Odom (Jimmy Eat World, Cartel). Vocalist Josh Youngson labels the music as “60 per cent evil, 40 per cent pop,” adding that it is “kind of a joke, but actually very accurate. All I really want is to make the kids clap their hands, dance, and maybe think a little bit on the way.” His vision is surprisingly accurate. The CD includes a re-recorded more rock-emo approach to the EP tracks, with little to no screaming. The track “Killing Ourselves to Feel” makes you want to bob your head, and the catchy vocals will leave you joining in on the group vocals: “we don’t care.” As brief intermissions from the upbeat and danceable tracks are the instrumental title track “Nightlife” and the melodic, piano enthused track “City Lights,” which showcases Youngson’s great voice. Stand out tracks include the first single “Turning Heads,” “Antoinette,” and the last track “Tora, Tora, My Dear Tora,” which features Comeback Kid vocalist Andrew Neufeld as an added touch. Call the emo-rock genre overpopulated, but Nightlife is a great CD and hopefully Sick City can put another Winnipeg band on the map. Kyle Phillips
Hot Hot Heat Happiness Ltd. Sire Records/ 2007 ♥♥	Happiness Ltd. is a disappointing follow up to their last album, Elevator. With its lacklustre songs and predictable vocals, the album leaves much to be desired. The album recycles the same gritty techno sound, while the vocalist, Steven Bays, blends into the wallpaper of the album. What happened to the clear, catchy songs of Elevator? Did they fall down the elevator shaft and die? Hopefully, otherwise Hot Hot Heat should explain why they wasted their time promoting an album so below their level of potential. There is not even a notable song on the album to recommend. All the songs hold the same level of boring and depressing renditions of tortured selves. The only positive thing to say is that maybe they’ll feel so bad about delivering a crappy album that they’ll try to make it up by delivering world peace. The first song “Happiness Ltd.” says over and over again that “happiness is limited.” On this album? Boy, I’ll say. Chelse McKee, staff
Kurt Cobain: About a Son Music for the Motion Picture Barsuk/ 2007 ♥♥♥♥	Michael Azerrad, whose book Come as You Are: The Story of Nirvana was the source material for the film, makes sure to point out that none of Cobain’s music appears on the soundtrack, only audio excerpts from his interviews with Cobain are included. The music on this album, as Azerrad suggests, plays like one of Cobain’s high school mix tapes. Primarily consisting of underground music from the ’80s, we are offered a taste of the music that inspired Cobain and intrigued him throughout his life. To say the least, Cobain’s tastes were never mainstream, and certainly were good (as far as I’m concerned). The interview clips paint interesting portraits of Cobain’s mind as they revolve around his opinions on music, but also, perhaps more tragic and important, his opinions of fame and his own life. This album can be taken as a slight glimpse into how Cobain’s mind operated. If that doesn’t float your boat, then take it as Kurt would have wanted - as a cool mix he wants you to check out. William O’Donnell, volunteer staff
Nathan Lawr and the Minotaurs A Sea of Tiny Lights Independent/ 2007 ♥♥ ♥♥	Any band that manages to fit in the line “I’ll be your mastodon” into one of their songs deserves to be noticed. Nathan Lawr, usually a soloist, joins with companions, dubbed the Minotaurs, to debut their new album. Their sound is a strange fusion of basement blues and a ’50s cheerily gothic musical. Nathan Lawr, although not a fantastic vocalist, delivers a good performance as frontman for a band dominated by instruments. He seems to have that type of unexplainable musical quality, found in people like John Lennon, that can’t be reproduced or taught. Despite that, his voice can get dull at times with its consistently droning tone. The music is mostly mellow except for the occasional “upbeat” songs. The term upbeat is being used loosely. A Sea of Tiny Lights is not dance music, but more like background songs for deep meditative moments. Nathan Lawr and the Minotaurs, with their creative lyrics and unobtrusive melodies, is coming highly recommended. Chelse McKee, staff